Meet our #LLASpotlight for April: Nora Awolowo, an award-winning filmmaker has carved a bold path in visual storytelling, redefining the Nigerian film industry with her keen eye for impactful narratives.
As a self-taught filmmaker, she has turned curiosity into mastery, working on projects with Netflix, Guinness, Disney x NatGeo, and more.
In our #LLASpotlight, she shares her journey—how she navigated the industry as a young female director, the lessons learned from working with Nollywood legends, and why women’s stories remain at the heart of her work.
She also reveals her Bollywood influences, her passion for thrillers, and why she’s committed to pushing Nigerian storytelling to new heights
Read the full interview below and discover how this visionary filmmaker is transforming Nigerian storytelling—pushing boundaries, amplifying voices, and proving that creativity knows no limits.
As a self-taught filmmaker, what sparked your initial passion for visual storytelling, and what kept you motivated during the early learning stages?
I started as a photographer and that was part of the curiosity. As someone fascinated by
architecture and symmetry, I got curious and started as a mobile phone photographer.
After some time, I got bored and wanted to know and know more. I had friends in Nollywood and offered to work as a BTS photographer, and it launched me into making videos as well. I try to see the details as a filmmaker
Your documentary “Life at the Bay” was selected for the Africa International Film Festival when you were just 20 years old. What challenges did you face as a young female director creating this project?
For correction, it was at age 18. It was a fun and passionate project, myself and Kiki Mordi had always known Tarkwa Bay and the community there. So we decided to highlight the people who serve beach life. We were both curious and I had a camera, and that birthed the documentary of a relaxing place and the community behind it all.
Being recognized as the youngest executive producer from Nigeria is significant. How does your age and perspective influence the stories you choose to tell and how you tell them?
My age is the least factor of influence. My environment and day to day life influence me.
I don’t approach stories from an age angle. Daily life around me and what I see in the news. Age is not a barrier and this keeps me confident in any room I enter.
Red Circle” features strong female leads and cast members. How important is it for you to center women’s stories in your work, and what unique elements do you bring to these narratives?
For Red Circle, we had an important theme of Friendship and it was driven by Omowunmi Dada and Folu Storms. Female friendship is an important element of society and that was a core part of our film.
Your work spans photography, cinematography, and directing. Which visual medium do you feel most connected to personally, and why?
Photography is my baby and there’s no cinematography without photography. They are
intertwined and I’m currently exploring more cinematography. It’s nice to see an ideation come to life with moving elements, and that is the key of cinematography.
As someone who started with mobile phone photography and built a career in filmmaking, what advice would you give to young creatives in Nigeria who may not have access to professional equipment?
Start with the tools you have and don’t let fear hold you back. Community is important and find your community. Collaborate with your friends & build your portfolio, and find mentorship opportunities as well.
Working with established Nigerian actresses like Folu Storms, Omowunmi Dada, and Bukky Wright on “Red Circle” must be a unique experience. What has been the most valuable lesson you’ve learned from collaborating with these veterans?
The most important lesson was realising that you need to build with them and make their careers feel safe. Share your ideas with your actors and let them root for the project because it has also become their baby.
Documentary and narrative filmmaking require different approaches. How do you navigate between these forms, and what draws you to each?
Both are different genres of storytelling and what matters is what I’m working on at the moment. Documentary is telling real stories of real people and these people shape the stories you are telling. Narrative is you building a world, more planning and more departments to work with.
“Red Circle” features multiple generations of Nigerian actresses. How do you think this
intergenerational collaboration enhances the storytelling and reflects the evolving landscape of women in Nollywood?
Our film is a blend of established veterans and young actors breaking barriers, and it is knowing that everyone matters and they all shape the industry. There’s room for everyone to shine
The film industry globally has been having important conversations about gender equality. What changes have you observed in Nollywood regarding opportunities for women, and what still needs to improve?
In nollywood, we have women at the forefront as executives, directors, writers and producers. What we need is more women behind the scenes and in technical roles
Which filmmaker or visual artist has most influenced your work, and what lesson from them do you carry into every project?
Bollywood. I’m such a fan of Bollywood and I enjoy watching a lot of thrillers. For Bollywood, they explore different capacities and execute the seemingly impossible in huge scales. Bollywood influences my filmmaking style a lot.
As both the executive producer and a visual storyteller, how did you ensure your creative vision for “Red Circle” was maintained throughout the production process?
It was a collaborative process with my director. Once I shared my vision, we were able to break down our ideas and involve every HOD from sound, gaffer, wardrobe. It became teamwork, from prep to execution
Looking ahead to the next five years of your career, what kinds of stories are you most passionate about telling, and what impact do you hope your work will have on the next generation of Nigerian filmmakers?
I want to do more thrillers and more stories that showcase our local languages. At the core of everything, the stories need to have a heart, and I hope my work is proof that you can dream and see it to the end. From ideation to execution, it is possible.
